Flight of the Phoenix

When an Amacor oil rig in the Gobi Desert of Mongolia proves unproductive, Captain Frank Towns and copilot "A.J." are sent to shut the operation down. However, on their way to Beijing, a major dust storm forces them to ditch their C-119 Flying Boxcar in an uncharted area of the desert.

On a flight over the Gobi Desert in Mongolia, Capt. Frank Towns and co-pilot A.J. are unable to keep their cargo plane in the air when a violent sandstorm strikes. A group of survivors stranded in the desert with no hope of rescue build a new plane out of parts from their old one in hopes of flying back to civilization. . You can read more in Google, Youtube, Wiki

Official C (fr) wrote: Could be one of the best Hong Kong crime thrillers. This film has a number of effective suspense, action and intensity. Let's not go into the movie's script for now.

Brandon S (nl) wrote: Starts out strong but turns into a lame piece of trash that consists of some unneeded sexual content, unnecessary amounts of blood and gore, and terrible performances from the entire cast!

Peter F (fr) wrote: While some may label Olivier Assayas as a surrealist, his films really come out through the more palpable and human elements, and Summer Hours may be the best representation of this. A slice-of-life family drama with a very Rohmer-esque disposition, Summer Hours is a quiet film with a modest look, yet the most complex of themes. Tackling issues such as globalization, modernism, art, generational gaps, and the inevitability of change, Summer Hours is rich in subtext, and sports a well-adjusted narrative that fits all the material in a way thas compact and never heavy-handed. Also, if you feel the movie isn't working for you while watching it, give it 15 minutes of thought after its finished. I guarantee it'll hit you then!

Spencer P (us) wrote: A powerful, if relatively lacking in straight entertainment, look into the lives of ordinary naval sailors in the Napoleonic wars, with epic battles, tense drama, and fantastic performances by Russell Crowe and Paul Betaney.

nathan w (br) wrote: This film in my eyes is under rated and any one who has rated this lowly should prepare themselves because I don't think it will be long before the monk fly kicks you through your kitchen window, but in all honesty despite it not being overly fantastic it still remains as one of my favourite films and not just because Vinnie Jones is an ex-Leeds player, but simply because its funny and I would disagree that it is a rip off of the longest yard, wow it's another sports comedy! Big whoop, that doesn't necessarily make it anything like the longest yard and don't get me wrong I enjoyed that to, but come on people both are FUNNY to watch for god sake!

Josiah D (ca) wrote: A fine example of oral tradition

Shannon L (kr) wrote: Leslie Cheung & Anita Mui they are good singers and good actor & actress, regrettable is they all gone to the heaven...

Jack W (ru) wrote: When I watch a film from decades past that I haven't seen before, I often come away with a sense of awe at just how much has changed in our world. SHE DONE HIM WRONG (Lowell Sherman, Paramount, 1933) is a great example of such a film. Obviously there are great cinematic changes, from the quality of the acting to technical details such as editing, cinematography and sound. One of the co-stars to the film, the great Cary Grant, is remarkably young and looks much different then the Grant we later became accustomed to. This film though belongs to Mae West and here is where the difference between 1933 and 2011 are most apparent.First, let's look at West herself. Her physicality and sexuality are what made her a sensation but what struck me while watching is the fact that she would have difficulty achieving such status today. She is a big girl, she has curves. In today's anorexic at all cost society a girl of such size has a much harder time rising to such prominence. Much like Marilyn Monroe twenty years later, West exudes extreme sexuality with everything she does on screen from the double entendres to the way she moves through the frame or in how she deals with men. To these two, men are toys to be played with at leisure.Also striking me is the role of Lou (West) and how she is such a dominant female figure. Set in the 1890's she controls all in her realm and she does so with her sexuality. For a woman exert such control in contemporary film she either must be a bitch or a shrew. Rarely does sexuality meet cunning in powerful female representations on film which helps make West role even more powerful. Though one thing hasn't changed and that is how Lou succumbs to a strong male character in the end as he saves her from harm. Nice to see that Hollywood believed a woman needed a man ultimately way back then too.I really liked this film. Mae West was a revelation as was such young Cary Grant. The film is rather short, which makes viewing much easier. Definitely a must see at some point if you love film as I do.

Gunpowder B (au) wrote: An inhumane, but somewhat crudely relayed, portrait of reckless adolescent lack of humanity, that is promising in some ways and in others lacks any sense of identity, but allows Timberlake's ultimate range of talent to first become readily apparent.